El sinfonismo en los siglos XX y XXI. Herencias y Modelos

Esta publicación se ha realizado teniendo en cuenta fundamentalmente que proviene, en parte, de la tesis doctoral (dirigida por Dr. Yvan Nommick) defendida por el autor en el 2016 en la universidad autónoma de Madrid así como varios artículos previamente publicados en revistas especializadas ( revista de musicología, revista del conservatorio superior de música de Madrid) así como ponencias conferencias y demás actividades de investigación y difusión científica que el autor ha ido desarrollando los últimos años aquí recopiladas y sintetizadas optimizadas en un libro de carácter investigador científico pero con un lenguaje suficientemente claro.. Las nuevas vías de conocimientos que explora el autor en sus detallados análisis, deben ser consideradas como de muy alta originalidad,

Con más de 250 ejemplos e ilustraciones, así como valiosos e inéditos análisis, ha sido definido por Tomás Marco como “valioso y necesario”

Elliot Goldenthal´s Final Fantasy

This research is based on an aesthetical-theorical analysis of Final Fantasy score giving an insight into the composer´s compositional methods applied to screen. Film music, over the last thirty years, has taken many forms and gone in many directions that were not thought possible. One of the most interesting directions has been the mixing of contrasting atonal-tonal musical style within the same score. This approach is an aspect of Postmodernism and has been used mainly in horror-fantasy films. Elliot Goldenthal´s concert music, with its mixing of languages (atonal-tonal) and dramatics, has found a successful way in score fantasy-horror movies like Alien III (Fincher, 1992) Sphere (Levinson, 1998) or interview with the Vampire (Jordan, 1996). The autor discuses the composer´s approach in scoring for this genre of films, focussing on the mixed harmonic and instrumental techniques to match with the imagery of the films, blurring the lines between concert and film both music and composers.

Elliot Goldenthal´s Final Fantasy

From the late 1970’s Lindberg has used different and even contradictory techniques and technical resources, as they suited his expressive purposes. Serialism, Stockhausen, Donatoni, Allan Forte’s [pitch] set class theories, Berio, Stravinsky, Lutoslawski’s two part form and French spectral theories are handled into a highly individual unity of style and expression that avoids any sense of post-modern stylistic shifting, seeking for a sort of new classicism. Lately, the style has turned into some post romanticism ( Concerto for orchestra, Sculpture, violin concerto).I will discuss and explain how Lindberg develops a single musical idea into a more extended piece and how these musical identities or characters are transformed at different levels of complexity -textural variations- whilst maintaining the vitality and characteristics of their original idea. Finally, I will demonstrate how in Lindberg, timbre, orchestration, register, texture and rhythm activity are related to one single constructive idea which determines the overall structure of the composition: identity and block forms in relation with French spectral theories (harmony).